[JPL] bopndicks 10 picks May 2009

[Dick Crockett]

Bopndicks
10 picks May 2009

JULIA
HULSMANN  TRIO      THE  END OF SUMMER  ECM
“The
End Of Summer” is a nostalgia piece, where a setting sun slants to
accentuate more contrast, more feeling, as the heat of the day
settles in a vale' of humidity, just enough for flying insects,
wildly ecstatic, pursuing in fading glistening light.  
It's a
perfect message for life before death, after light, after love, after
healing for existence never suffers. It's always here and there,
existential for innumerable lifetimes.
Pianist
Julia Hulsmann centers her music around melody. These are songs
without words in soft structures and not to overly incumbent in
visual stimulation, for this jazz is sojourn and thoughtful, graceful
and soft with myriad of coloration, “chromatics of a normal scale
by the use of accidentals, progressing by semitones, C to a C sharp.”
Hulsmann's
melodic language is highly influenced by singers, poets and post
modern artifacts.  She can be definitive in her concept, yet simple
in dynamics and a powerful jazz force.  
Consider
her as a dogmatic, yet thoughtful minimalist in the title tune.
“Konbanwa” picks up the pace a little,introducing British bassist
Marc Muellbauer with a more contemporary bass line as he carries on a
message with Hulsmann's minimalist cadence.  
Pop
singer Seal's “Kiss With A Rose” is fodder for Hulsmann's new
modern post conception. This is a contemporary tune slowed for more
clarity, for the music lacks misconception. It's all right there and
the reharmonized is no exception.
“Quint” is a Vince Guaraldi uprising with the best “hook” so far.  The
music is a clear a field more forceful a heroic message.  “Quint”
is indeed a gem with a slurry of mixed counterpoint with a trio
that's sounds funky like Gene Harris and purient as a post modern
pianist can be and that's Julia Hulsmann. Charley Brown stepping over
the edge into the post modern.
Then an
enticing ballad, “Sensa,” accentuating Hulsmann's articulation
within iconic rhythms of Marc Muellbauer and drummer Heinrich
Kobberling.
“Not
The End Of The World” is spirit romance with Hulsmann interjecting
a period piece of understanding with “Sepia,” a romantic
reharmonization of the underground jazz scene. It's slow, discreet 
and lovely, getting accustomed to the pacesetting of her music as
“Sepia” moves on to “Gelb,” an exotic magical mystery tour.
“Where
In The World” is grand and lovely,  a melody, awaiting words of a
late summer romance, the best for those who've loved and lost and
savoring a blissful moment as only one, as romantic, as Julia
Hulsmann will create out of her magical circuitous motion.
In
case, you haven't heard, “The End Of Summer,” may just to slip
by,  unnoticed, before it's over, sooner, than spring becomes summer.

JOHN
McLAUGHLIN  &   CHICK COREA       FIVE PIECE BAND Concord
Records
This two CD set was recorded from 20 concert appearances
in 2008 and a reunion of great musicians whose importance to modern
jazz is immeasurable.  And what an assembled great band for the
occasion of Chick Corea, John McLaughlin, Kenny Garrett, Christian
McBride and drummer Vinnie Colaiuta!
A stylistic merging of Chick Corea's “Return Forever”
and John McLaughlin's Mahavishnu Orchestra, a compilation of the two
artists great work from a recent 2008 tour.
McLaughlin“Raju” begins with a  phenomenal hook that
reminds you of the seventies /eighties jazz fusion sound, where
Miles, Metheny, Zawinul and Herbie Hancock played joyfully with
glorious intensity,  as McLaughlin displays lightning fast rhythms
and high end licks.  For these musicians are still the best around,
as fast and exciting, as some years ago, that'll later merge jazz to
a whole new world pop sound. It reverberates to a sophisticated Corea
ballad, “The Disguise,” filling the air with contemporary dynamic
intention as Kenny Garrett flexes muscular blues chops for this solo.  
Christian McBride is considered one of the best jazz
electric bass players, especially on 'New Blues, Old Bruise.”  
If you were a part of that Steely Dan/
Metheny/Corea/McLaughlin eighties electro jazz pop culture, it's
where you forgot how good it felt not remembering driving from point
A to point B (a loaded question?)  This music will certainly open up
those glistening portals of your brain again, with very dramatic
memories, levitating on the breach of all this fuss.  
The Five Piece Band just keeps it up right through “Hymn
To Andromeda,” which takes 27 glorious expansive minutes to evolve
and that's only through the first CD.  
The McLaughlin/Corea/Garrett/McBride/Colaiuta group was
specifically assembled for this tour and it's by far the best array
of live performances on record, this year.  
jazz/ rock fusion so good to pass up.  
Chick Corea begins the second CD with a stirring blues
on Jackie McLean's “Dr Jackle.” Then the band kicks up an urgent
rebop message in  McLaughlin's natty rhythm lines. Since it's 22
minutes long, everyone from Kenny Garrett to Christian McBride and
Vinnie Colaiuta joins in to say it right. For this is what the good
book of hard bop and blues is all about.
John McLaughlin's distinct style is more than impressive
in memorable version of his “Senor C.S.”  
Herbie Hancock sits in on piano for a vivid, dynamic jam
with Corea and McLaughlin  on the great Miles Davis performance
improvisation, written by Joe Zawinul “In A Silent Way/It's About
That Time.”  
This
performance CD is a rebirth of the great days and exciting music that
only the “Five Piece Band” can make, and only Chick Corea, John
McLaughlin, Kenny Garrett, Christian McBride and Vinnie Colaiuta can
make it happen.

RAVI
COLTRANE                BLENDING TIMES  Savoy Jazz  
Ravi
Coltrane dedicates this project to his mother Alice Coltrane, who he
credits as a prominent influence in his music.
One
cannot fully appreciate the shaping a parent can have on a child's
musical upbringing that manifests into his own identity as a
musician.  
In
Alice's case,  the Detroit experience shaped her early conception and
remnant's are evident in Coltrane's writing on “A Still Life,” as
a deep almost psychic benevolence is here and all around this tune.
It's bop, Detroit and John Coltrane's emboldened spirit,  melding
into thoughtful and post modern, with a deep abiding respect for jazz
elders.  
Ravi
Coltrane then nails Monk's “Epistrophy” in cubist excellence, as
others in the group carry it forward,  with Caracas own pianist Lewis
Perdomo, who penned “Shine,” Drew Gress on bass, whose complex
and groovy bass lines portend Monk's quixotic fantasies and drummer
E.J Strickland's vitality, as punctual here, adding vital structural
energy.  
The
band offers an interesting dichotomy for Ravi Coltrane to document
his views on the current state of the evolving art with a series of
improvisations, “Amalgams,” “Narcined,” “The Last Circuit”
and “Before And After.”
“One
Wheeler Will” is an up tempo Ralph Alessi tune and a locked in a
cadence, resonating so well with a universal audience, with Luis
Perdomo playing the trumpet parts on piano, effortlessly.  
Ravi
Coltrane with his second release of Savoy Records has established his
way, in as elusive and musical a manner, to what his future beholds. 
And “Turiya,” written by and with Charlie Haden on bass and
Brendee Younger, creating an almost mystical harp sequence, as to
what illusive fragile beauty is to the now.
Ravi
Coltrane  with “Blending Times” has his conception. He's moving
forward with a degree of calm spirituality, and all we'll do is
listen and rejoice in his life, his family and his art.

CHICO
HAMILTON        TWELVE TONES OF LOVE  Joyous Shout
Chico
Hamilton, always an innovator, since his early West Coast recordings,
performing with Gerry Mulligan, Buddy Collette and Eric  Dolphy in
the fifties and his new progressive group, featuring young artists,
Gabor Szabo and Charles Lloyd in the sixties.
His
unique palate as writer, musician and romanticist separate him from
other modernists. There's a tendency toward a more surreal, lyrical,
pastoral and progressive sound.
Chico
Hamilton has always been special. Only a few come close. Their style,
being as angular and unique as Gary McFarland for his orchestral
composition and Geoffrey Keezer for ambience in his small group and
vocal arrangements.  
When
listening to Hamilton's original music, especially on”Twelve Tones
Of Love,” the feeling the compositions are adaptable to both large
and small group ensembles. These are a series of mood suites,
Hamilton originals “A Piece Of Music,””George,””Nonchalant.”  
What
really sets the tone and theme for this CD is a scintillating version
of “Lazy Afternoon,” very hot and sensual, sung by Jose James and
laureled in Hamilton's tympani playing.
“Charlie
Parker's Suite is a sensitive glowing tribute by Hamilton whose
reverence for The Bird is evident here.  
“Penthouse
A” is a fifties romance more West Coast than East Coast with Cory
DeNegris guitar and a mellow reed dissonance with added resonance by
Ian Young on alto saxophone.  
“On
The Trail” is very different, a ballad acclimated to a lush almost
Spanish acoustic guitar,  adjacent to Eddie Barbash's iconic flute
performance.  
“On
Broadway” a classic, many groups have performed for decades, not so
much until now, when it's featured here in a hip, reharmonized
nostalgic bebop. Chico Hamilton makes it a legendary piece, a noir
festive Cab Callaway cabaret.
The
rest are a series of Chico Hamilton motifs, rescinding  past lives,
forgiveness and  love.
One of
the most striking, simple yet impactive songs on this CD is a version
of “I Don't Know Why I Love You Like I Do,” a slow romantic
movement,  Hamilton's tribute to his late wife, Helen.  It's a song
that's so optimistic, loving and American, sung by our parents and
it's so much of what this latest of the many Chico Hamilton recent
projects is all about.  
The
glory, the love, the life, whatever you prefer, we're all just
“knockin' on heavens door.”
This is
vintage Chico Hamilton, “Twelve Tones Of Love,” and you better
get a hold of this!

JOE
ZAWINUL &  THE ZAWINUL SYNDICATE        75  HEADS UP
Records
Joe
Zawinul left this plain on September 11, 2007. This recording was
made August 2, 2007 at Vesprem Festival in Hungary. It may be his
last live recording and this 2 CD set encompasses his more
contemporary body of work in jazz from Cannonball Adderly,  to
Weather Report, to “The Zawinul Syndicate.”  
Joe
Zawinul discovered the missing link between Eastern/Western music
with modern fusion and African percussion.  
He's a
multi fusion keyboardist whose own inventive proclivity out shines
everyone else.
And if
you were blown away by Weather Report, you can dig this.  
The
first side celebrate Zwingli's fusion pop jazz era influences with
“Orient Express,” up beat scat and whirling rock of 
“Madagasgar,” sensuous funk of a  “Scarlet Woman” with
Zawinul on keys,  as well as vocoder,  and Linly Marthe playing some
nice and funky bass lines.  
Before
you know it, you're walking on and strutting, oh so well to this
infectious beat...
Agree
to disagree, doesn't matter for Joe Zawinul's possessed a link to the
outer reaches, communing with others, Aldous Huxley, George Orwell
and George Carlin.  
If you
don't think it's humanly possible, consider Zawinul's to the
everchanging world contemporary, and concluding CD One with a loose
extraordinary “Cafe Andalusia.” Simply, it's a spicy up in your
special animus!  
Guitarist
Alegre Correa explodes with wicked licks on “Fast City-Two Lines”
and  Zawinul introduces his band from Brazil,  Morocco, India,
Belgian Congo, a modern  world band opening the second CD.  “Clario” is a trip wi9thy guitarist Alegre Correa vocalizing and jamming...  
For Joe
Zawinul, knew, became and was the answer of all funk-a-dynamics.
Badia/Boogie Woogie Waltz,” for it's out there in rhythm and joyful
muse.  
Don't
try to strain. Funky “Happy Birthday” happenings July 7, 2007 is
just what it is.  
Then
classic electric Miles with Wayne Shorter on soprano saxophone “In
A Silent Way.” And finally an apropo “Hymn” to infinity as
recited in mortality of us.  
Since
this is the final performance of Joe Zawinul on record, it mzy lend
to some hyperbolic nature in all of us.
It's a
eulogy for us to reflect upon and cherish.
This is
vintage Joe Zawinul, loving every minute and making it so.

JIMMY
GREENE       MISSION  STATEMENT RAZDAZ Records
Jimmy Greene is one of those old line players, a young
man, for sure, but with an ecclesiastic purview for hard bop.  Born
in Hartford Connecticut, encouraged by his parents, started playing
alto saxophone at six years old.  
He played in the Bloomfield High School band and began
turning ears in his direction.  His music teacher introduced him to
Jackie McLean. Greene studied with McLean, learning valuable concepts
on improvisation with a firm foundation in hard bop tradition.
And you hear it in Jimmy Greene's playing, when you hear
him, for the very first time. Whether it's alto, soprano or tenor
saxophone, his soulful sound is one of the purist in jazz.  
Jimmy Greene just lights it up with the title tune and
guitarist Lage Lund to do the thing as emotional counterpoint, as a
rich embellished post nature rising...what an opening statement!  
And Lage Lund adds so much to this digression with
opposing expediency.
These two can meld like a steel furnace.
Jimmy Greene can  rebop, slow it down as well with a
strong solo in “Fathers And Sons.”
This post modern mix of saxophone/guitar is inviting and
when you hear these two on separate solos, but the rising wail of
Jimmy Greene's atonal with drummer Eric Harland's power behind the
song. Harland is also a very important element in this as he really
drives the music.
“Trials”
is another heroic hard bop message that builds on this CD-the center
no doubt, cultivated by Jackie McLean, 'but the kid had it right
off....'
“Love
In Action” drifts back to those early hard bop days of Hank
Mobley's, Tina Brooks's, young Wayne Shorters... You move around the
mortar of  those past days and get around, to another new too cool,
again.  Jimmy Greene has that ax that jazz giants have, had and still
do. (Makes you want to play some vintage Sonny Rollins.)
“Revelation”
features Stefan Harris on vibes and Jimmy Greene on soprano.  
There's just of that Lem Winchester feel to this song.
Good bones.  
“In
Nelba's Eyes” where Jimmy Greene's tenor saxophone diversifies to a
ballad. Pianist Xavier Davis really shines here, 'counting the money' on this tune.  Jimmy Greene's deep well versed tenor bop is very
evident on both“Yeah You Right” and  “Mr Octopussy.”  “Ana
Grace” is a ballad with Greene on soprano as “Give Thanks”
hosts another eloquent rendition of Greene's superb soprano soloing.  
Jimmy Greene is a musician who knew early his goal to
become as a prominent jazz saxophonist and on his CD “Mission
Statement” he demonstrates his versatility and prowess on the alto,
tenor and soprano saxophone.
But the one thing that elevates him over others is the
vitality he projects in his playing.  
You
know it the very first time you hear Jimmy Greene. The man has
gargantuan feel for the bop traditions and understanding soul.

THE
KEVIN HAYES TRIO     YOU'VE GOT A FRIEND JAZZ Eyes  Records
Kevin Hayes,  a seasoned pianist is so well versed in
hard bop, new pop and old school,  as well as New School. And when
you hear his new CD, be pleasantly surprised, because he'll pull up,
give some traditional looks on Carol King's “You've Got A Friend”
and Simon & Garfunkel's “Bridge Over Troubled Waters.” You'd
think so, but slowing it a half beat, turning it to a mantra,
something Ramsey Lewis would do, is another avenue  with bassist
friend Doug Weiss and drummer Bill Stewart.  These are the top
session men in the world and their strong influence is no problem in
getting into the Kevin Hayes mind frame.  For these are sophisticated
pop mainstream songs,  set with a subtle signature and like Brad
Mehldau, Kevin Hayes gives a slight of hand different interpretation. Sounds right, and all right is another dimension.
Afterwards,  you may suggest, due to Stewart's back
beat, there's a Les McCann message in there somewhere?  
Then “Bridge Over Troubled Waters” comes along even
slower as it goes, a Sunday night Church in Riviera Beach, doors
flung wide open to spread the heat of Gospel joy.
There's a more abstract learning of both songs.  
Then “Fool On The Hill”  is more solid in the beat
and more opulent in the message, yet more abstract in the content.  
This happens when you're a well structured pianist,
schooled in all techniques jazz musicians have used, for the new
precepts, he can supply his own.
Kevin
Hayes then takes the bop constructs of 20thcentury jazz genius Thelonious Monk on“Think Of One” and builds
upon them with humor and joy. Monk would approve, maybe not openly,
but he'd be cool with it, in private.  
Trust me, Monk would approve because he was a dedicated
and joyful pragmatist.  
“Sweet
And Lovely” is an avid vehicle for a jazz pianist. There's
something in the chord structures of “Fool On The Hill” and
“Sweet And Lovely” that attract Mehldau and Hayes.  
And he goes right after it, like a terrier, chasing a
rabbit,  up to the challenge.
Bob Dorough's “Nothing Like You” has the vocal
changes that Kevin Hayes turns into a lovely baroque melody.
And by the time you feel Kevin Hayes rendition to
Charlie Parker's “Cheryl,” you understand why and how Kevin Hayes
new CD, “You've Got A Friend” is so worth the time and energy.
You'll be so blown away, you may mistaken an ATM for a
Candy machine.

BRANFORD
MARSALIS QUARTET     METAMORPHOSEN Marsalis
Music
Branford Marsalis, the really smiley guy/ band leader on
Jay Leno's Tonight Show is  really a serious jazz
musician/leader/entrepreneur, implied in a recent photo promoting the
quartet's new CD.  
Ok- Ok- Ok,  Branford was the fun leader of the Tonight
Show orchestra, way back when?  1992-1995.  
But the photo Wikipedia has Marsalis with a rather
serious expression, indicating, he's really down to business, not
just another funny guy on a variety TV show.  
Besides, for the kind of money these networks throw
around, you'd be smiley face, showing those gleaming ivories, too.
Dichotomy of personality may vary with more serious
subject matter, as this new CD extends the Branford Marsalis Quartet
into more “Metamorphosen” territory. But an old jazz musician
might say in the vernacular, so to speak, which is more like...sort
of?!  This band is a serious contributor to the post modern scene. 
No doubt! Infinitesimal.
It's the same band that Branford Marsalis has led for
the while now, and  with the incomparable funky Bobby Calderazzo,
pianist, as in “Sphere” by bassist Eric Revis, in various,
like-Monk incarnations.  Believe, the band gets it.   It's the song
right before Monk's “Rhythm-a-Ning.”  
Don't you like the e.e.cummings-a-thing...
Calderazzo's “The Last Goodbye” features Marsalis on
soprano saxophone in a rather plaintiff remembrance, elevated by Jeff Tain's efficient brushes.  
“And
Then He Was Gone,” is a tight expression written and performed by
bassist Eric Revis and glorious with Branford's serious understanding
of past jazz moods and variations.
All serious work in jazz is performed by artists with
reverence for the work, as in the new fresh ideas implemented in
Branford Marsalis new work, “Metamorphosen.”

DOMINICK FARINACCI      LOVERS, TALES & DANCE KOCH  Records
Cleveland born and Juilliard trained in the infinite
subtleties of jazz and classical music. Dominick Farinacci makes a
grand entrance with flawless tone, technique and command.  Farinacci
simply has the kind of chops that make the certain trumpet players
great!
“Libertango”
exhibits Farinacci's crisp and flawless phrasing and technique.  
Billy
Holiday's  “Don't Explain” begins this marvelous CD, with a
poignant sad lament giving full range to Farinacci's expression
supported with Joe Lovano's superb styling and Kenny Barren's
instincts. These are superb arrangements, showcasing his immense
talent, range and strong lip. The rest comes from shaping that talent
at Juilliard.  
Vocalist Hilary Kole's warm slow pacing, making the
romantic “Estate,” even more seductive and blends instinctively
to Farrinacci's rich tone on flugelhorn.  
You feel the chemistry between the two in this version.
“Vision”
is a Farinacci original performed in a quartet format, as Kenny
Barren sets the mood.  James Genus and Lewis Nash follow up with
energetic pop rhythms, showcasing Dominick's high ranging powerful
tone.  The arrangement of this original has created a classic jazz
song and one most post modernists will ordain for future reference.
Jacques Brel's “If You Go Away,” Puccini's E Lucevan
Le Stelle” is an emotional song portrayed by the great operatic
tenors and Farinacci's horn just soars from dynamic low and high end
dominance, effortlessly, in clear, concise and true tones. Farinacci
creates from ”Erghen Diado, Song Of Schopsko,)” a chant by a
women chorus in “Le Mystere Des Voix Bulgaria  into a dynamic jazz
piece and capturing a mystic of this song, followed by an original,
“Silent Cry,” again exploring a profound romanticism and
nostalgia in his writing  attesting to Farinacci's polite, yet smart
and compelling iconoclasm  of his music.
“Love
Dance” is a very compelling sensual voice, orchestrated in a very
popular manner.  
“Love,
Tales and  Dance”  is usually a CD that artists record, late in
their careers. But this is delivered in indelible ink, attesting
Dominick Farinacci's talent and brilliance. “Lovers, Tales &
Dances is pop mainstream and yet there's a profound world post modern
concerted view that sets Gucci from Florsheim, makes community and
parlance the same, and a joy and peace for same.  Dominick Farinacci
has a marvelous CD, you must listen to and leave for someone special
to listen too, grandmothers, wives and mistresses.  

BEN
MARKLEY      SECOND  INTRODUCTIONOA2 Records
Ben Markley is hard core, as a steelworker, but for
bebop traditionalism,  as here in his new “Second Introduction.” 
Prominent influences from Bud Powell to Barry Harris and Phineas
Newborn Jr, noted for their 'no holds barred' attitude to the great
American legacy, Jazz.
Of course, many young musicians  assembled after earlier
evening gigs to play this new style, turning standards into
improvisational tour de force in the 1940's, after hours at Minton's
in Harlem, to a new bebop, the likes of Bud, Dizzy, Monk and Parker.
And celebrated by this young jazz pianist.  
And when you hear him play, like Red Garland, “But
Beautiful” as a trio with Evan Gregor bass and Jordan Perlson. 
Markley develops a nice solo, his timing is impeccable, as if you
were at the Top of The Park on Gotham jazz radio.
Ben Markley attended  Fort Hays University, Hays, Ks. 
and didn't decide to pursue music full time until his third year.  He
studied with Frank Mantooth whose jazz orchestra and stunning
arrangements, backed Kevin Mahogany's recent big band CD.
In 2005,  Markley studied at NYU with Brian Lynch, Dave
Hazeltine and Joe Lovano.
This kind of music is serious business in the big city
and Ben Markley makes it so  reflective in his new CD “Second
Introduction.”
Markley's tunes also feature Greg Gisbert on trumpet,
Jim Pisano on saxophone with some hard core bop. They score through
it, with wicked, rise and shine, Markley bop harmonies, identities, 
reflective in nice tight solos.
Imagine the inner noir blue note evenings with Hank
Mobley and Lee Morgan with “An Aperitif” and soaring Jimmy
Spaulding's alto runs and that's how Ben Markley has it all down.  
As the folks used to say, “He's got some good ears.”
“5-20,”
“Dry,” “One For Cedar,”(Cedar Walton, pianist of the Hank
Mobley's  1967 “Third Season” CD)  are great hard bop vehicles.  
“The
Ninth One's Free” is hard core bop. This kind of music drenched in
late night  testosterone. An Ode, to be young again with that kind of
muscle!  That's what Ben Markley creates in “Second Introduction.”
“As
It Comes” is a nostalgic refrain with horns, majestic as
“Poinciana” was for Ahmad Jamal, some forty years ago.
“Two
To Go” is another hard core heroic bop tune with kind a “Three
Blind Mice” hook to it.  
Young Ben Markley becomes the heroic messenger for hard
bop maniacs, who fondly recall black & white noir,  as the way to
go in the fifties, “Breathless” as Jean Paul Belmondo and Jean
Seberg chase each other's long ago.
Ben Markley's new CD, “Second Introduction” has that
kind of street credibility.

ONES
TO WATCH:

DEE
ALEXANDER       WILD AS THE WIND blujazz
Chicago jazz singer Dee Alexander has incredible style,
repor and blue sophistication on this CD, that's relegated to a few
classic jazz vocalists of the golden era of  Ella, Dinah, Sara and
Carmen.  
“Surrender
Your Love” signifies her work with free jazz trumpet icon, the late
Milachi Thompson,  as she gives it up,  similar to Dee Dee
Bridgewater. “Bitter Earth” will create through Alexander's
gifted phrasing, memories of Dinah Washington.
Dee Alexander brings back class, no jive, big city jazz
in her singing. It's downtown, what it used to be, when Carmen McRae,
Dakota Staton and Nancy Wilson ruled the late night bandstand. With
Dee Alexander and few riffs by Henry Huff, “CU On The Other Side,”
it most certainly is, and always will be.  

MILES
DAVIS           COLLECTORS ITEMS       Rudy Van Gelder Edition
Prestige Records
“Collectors
Items” is just as it implies, a rare collection of Miles Davis
early hard bop recordings, a 1953 session with Sonny Rollins and
Charlie Parker on tenor saxophone on  “Compulsion” and “No
Line.”  
The second session recorded in 1956, features Sonny
Rollins, Paul Chambers, Tommy Flanigan and Art Taylor with “Vierd
Blues,” the fifties Beat anthem, remastered and released again by
Rudy Van Gelder and sounding better than ever.  
Note: The album introduced me and others to modern jazz
in 1957.

RED
HOLLOWAY        GO RED GO Delmark
Records
Chicago's own Red Holloway,  a former prize fighter and
big time muscular tenor saxophonist who carried on the classic jazz
R&B tradition of other Chicagoans, Gene Ammons and Sonny Stitt,
well known for his successful tenure with Hammond B-3 organist Jimmy
Smith in the late fifties/ early sixties.
“Go
Red Go” is a celebration of the life, the style, the funk and
sanctity with organist Chuck Foreman, guitarists, Henry Johnson and
George Freeman and drummer, Greg Rockingham.
Excuse me, if you ask, most definitely, this CD is proof
that Red Holloway,  still is in fine form.

MICHAEL
JEFRY STEVENS        FOR ANDREW Konnex Records
His perception of Miles Davis tune, “Nardis,” is
exceptional.  
Pianist/composer, Michael Jefry Stevens tribute to
Andrew Hill was recorded in 1996 and recently remastered and
released.  
Stevens was at the forefront of then New York City music
scene in the nineties and worked with some of the best modern jazz
musicians of the era.
He's
composed over 400 works and his reverence for Andrew Hill's skill as
a musician and writer is very evident in this CD, where composition
is the paramount setting performance.
He currently is composer in residence at Rhodes College,
Memphis where this CD was remastered and released.

VENISSA
SANTI             BIENVENIDASunnyside Records
This young Cuban American singer, traditional to the
core, yet modernist, fuses her background to jazz  with post modern
thinking in her debut CD. “Bienvenida.”
“Talking
To You,” is coquettish with a bold flirtation in her writing. But
the standard “Embraceable You” really gains attention. Venissa
sings the first chorus with reverence to Gershwin, accompanied by
pianist Robert Rodrigues and bassist Yunior Terry with a reference to
free form lyrics similar to King Pleasure.  
It does get your attention. “Columbia pa Miguelo
Angel”  is a Latin free centerpiece revealing her discipline and
love for Afro Cuban jazz.
Venissa Santi is a bright new jazz singer whose
influences range from Celia Cruz to Betty Carter and this new CD, 
“Beinvenida” is a treasure, an indication it's only the 
beginning, and we can expect more good things from Venissa Santi,
sometime soon.
“Wish
You Well” with accompanist Robert Rodriguez is lovely, personal,
poignant.  

“Life
is an ongoing time signature.
You just gotta to figure it out  
and go with the flow.”
Dick Crockett
“The
Voice”  88.7fm  
4623 T Street, Suite A
Sacramento, Ca 95819-4743